THE BRITISH LIBRARY

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123 posts categorized "Greek"

29 May 2019

Crocodiles rock (never smile at a manuscript)

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Regular readers of our Blog may have noticed that animals are one of our favourite subjects, especially the weird and wonderful creatures that inhabit the bestiary. Some of these creatures, like the unicorn or bonnacon, are no longer to be seen; but one of the strangest beasts is still thriving (though please don’t get too close) — the crocodile. The British Library's bestiaries contain a huge variety of images of these creatures, by medieval artists who were compelled to use their imagination  — after all, one rarely encountered a crocodile when fishing for eels in the Essex mud-flats in the 13th century!

A fairly realistic depiction of a crocodile is found in this bestiary, which was in the library of Rochester Priory in the 14th century and may have been made there. This manuscript, as well as two others described in this blogpost (Royal MS 12 C XIX and Harley MS 3244), is currently on display in the exhibition Book of Beasts at the Getty Museum in Los Angeles.

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A crocodile in the ‘Rochester Bestiary’, 2nd quarter of the 13th century: Royal MS 12 F XIII, f. 24r

The crocodile is often accompanied by its enemy, a snake-like beast from the Nile, known as the hydrus. The text describes how, when a crocodile is asleep with its mouth open, the hydrus rolls in the mud to become slippery; it slithers into the crocodile’s mouth before being swallowed. It then begins to eat its way out, killing the crocodile in the process. In the bestiary tradition, animal behaviours are seen as moral allegories; in this case the crocodile’s mouth represents the mouth of Hell, while the hydrus is Christ, who enters through the gate of Hell to redeem lost souls. In this manuscript there are two drawings of crocodiles, one with the hydrus and the other eating fish.

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A beaver with a man blowing a horn, a crocodile swallowing a hydrus, a crocodile eating fish, and a winged hyena (England, 1st quarter of the 13th century): Stowe MS 1067, ff. 2v–3r

Guillaume le Clerc, a Norman cleric and early compiler of the bestiary, described crocodiles as being shaped ‘somewhat like an ox’. The artist of one bestiary seems to have followed this trend, as their crocodile has long legs and looks more like a horse.

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Bears and a crocodile (England, 2nd or 3rd quarter of the 13th century): Sloane MS 3544, f. 10v

Later in the same volume, a different artist drew a more plausible shape, although this crocodile's ears are rather dog-like.

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Another crocodile in Sloane MS 3544, f. 43r

All the early writers who described crocodiles, from Pliny to Isidore to Mandeville, were agreed that they are ferocious beasts. Some alluded to their taste for humans, while Mandeville and Bartholomaeus Anglicus mentioned the tears that they cried before swallowing their hapless prey. In this image, a crocodile (labelled 'serpens') is shown swallowing a man who is stabbing him, while a hydra emerges from a hole it has bitten in his side.

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A crocodile swallowing a man (England, 2nd quarter of the 13th century): Harley MS 3244, f. 43r 

For pure invention, the prize goes to these two artists, whose creatures resemble dinosaurs or prehistoric insects.

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A crocodile swallowing a hydrus (England, 1st quarter of the 13th century): Royal MS 12 C XIX, f. 12v

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A crocodile with a knotted tail (England, early 13th century): Harley MS 4751, f. 62v. This manuscript was digitised as part of The Polonsky Foundation England and France Project.

Bestiaries are not the only manuscripts to contain images of crocodiles. Here are two in the margins of Psalters, one made in Constantinople and the other in England.

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A crocodile in the Bristol Psalter (Constantinople, 11th century): Add MS 40731, f. 92r

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A crocodile in the Queen Mary Psalter (England, between 1310 and 1320): Royal MS 2 B VII, f. 102v

So why blog about crocodiles? They are certainly not cuddly creatures like the dogs, cats, elephants, hedgehogs, beavers or owls that we've blogged about before. The idea came to me while I was writing another blogpost on the works of Homer. What do crocodiles have to do with Homer, one might ask? The missing link is the remarkable survival of two Egyptian papyri containing his writings, known as the ‘Harris Homer’, one in roll-form and one in book-form (Papyrus 107 and Papyrus 126).

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The Harris Homer (Egypt, 1st–2nd century): Papyrus 107, f. 1r

The papyrus roll was found in ‘the crocodile pit’ at Ma’abdey, near Monfalat, in Egypt, on 9 December 1849, before being acquired by Mr A. C. Harris. This story has been investigated by Brent Nongbri in his article ‘The Crocodile pit of Maabdeh, Florence Nightingale, and the British Museum's acquisition of the Harris Homers’, Bulletin of the American Society of Papyrologists, 54 (2017), 207–17. Apparently the pit was a cave on the banks of the Nile containing thousands of crocodile and human mummies, much visited by 19th-century travellers who wished to experience the thrill of being attacked by bats and encountering the spirits of dead crocodiles.

 

Chantry Westwell

Follow us on Twitter @BLMedieval

25 April 2019

Writing the story of writing: a new exhibition

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On 26 April a new landmark exhibition opens at the British Library. Its theme is broad but it is also personal and intimate: Writing: Making Your Mark traces the incredible story of how we write.

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Writing on a page: a portrait of St Luke the Evangelist from a 12th-century Byzantine gospel-book: Add MS 5112/1

Jotting notes, sending texts, typing emails — all are part of our daily lives. Writing surrounds us. It lets us communicate with people we don’t see and may never meet. It allows our great-grandparents to talk to us from the past through their handwritten letters and postcards. Through it, we can leave messages to future generations which they may or may not read. We take all this for granted without necessarily being aware that, with every single letter we put down, we are part of the 5000-year story of writing.

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Hieroglyphs from the back of a 2nd or 3rd-century Greek papyrus: Papyrus 2

Writing: Making your Mark is an opportunity to think about this amazing human invention and the incredible journey made by writing worldwide in the last 5 millennia. From ancient cuneiform tablets, carved hieroglyphs, long papyrus scrolls and gold-blazed parchment leaves to printed and typewritten pages or computer screens, we reflect on how writing has changed they ways we think, feel and see the world.

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One of the oldest attestations of an alphabetic system survives on the base of this sphinx, with the ancestors of our letter 'M' (as water on the right) and 'a' (as the ox-head) next to it (Sinai, 1800 BCE): British Museum EA 41748 (courtesy of the British Museum)

Writing: Making Your Mark is a remarkable opportunity to display some of our ancient and medieval treasures in a new light and in a global context, surrounded by examples from other periods and cultures.

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A Greek wax tablet with a child’s homework, written in Egypt in the 2nd century AD: Add MS 34186(1)

A 2,000-year old Greek homework-book illustrates the humble beginnings of a career in writing. A prosaic document, recording the sale of only a twelfth part of a land and house in Ravenna, is the longest intact papyrus in the British Library. Its script, written at times rather carelessly by a notary called John, shows letter-forms developed by the Roman imperial administration, which mark the beginnings of our lower-case letters and are direct predecessors of the characteristic insular script of early medieval England.

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Detail from the Ravenna Papyrus, AD 572, with the scribe recording his name ('scribsi ego Johannis') using the 'lower-case' letters of the New Roman cursive: Add MS 5412

One of the earliest examples of the new script developed in the court of Charlemagne in the late 8th century shows us the roots of the New Roman typeface, that went on to the printed page in the early 16th century and then on to our screens as Times New Roman.

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An example of Carolingian minuscule from a manuscript of Theodulf of Orléans, De Spiritu Sancto, made between 809 and 816: Harley MS 3024, f. 33r

The exhibition concludes by looking at the future of writing, asking how humankind will make its mark in the coming years. Come and join us on this amazing journey.

Writing: Making Your Mark will be open at the British Library from 26 April to 27 August 2019. Tickets can be purchased here.

 

Peter Toth

Follow us on Twitter @BLMedieval

20 April 2019

Fortune-telling the ancient way

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Will I have a long life? Am I going to find the person I want? Am I to become successful? If you’ve asked these questions about your future, keep on reading, as we might have the answer for you, from ancient times.

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The ‘Oracles of Astrampsychus’ (Sortes Astrampsychi): Papyrus 2461 verso

The British Library's collections include a papyrus from Oxyrhynchus, in Egypt, that contains part of the so-called ‘Oracles of Astrampsychus’ (Sortes Astrampsychi) (Papyrus 2461 verso). This is an oracle book that provides answers to a fixed set of questions of a personal nature. Among the questions preserved in our papyrus are the following:

‘Am I to find what is lost?’

‘Am I to recover from my illness?’

‘Will I come to terms with my masters?’

‘Shall I have a baby?’

‘Am I to profit from the affair?’

‘Will I become a senator?’

‘Have I been poisoned?’

‘Shall I be a fugitive?’ (and, if so) ‘Will my flight be undetected?’

‘Am I to be separated from my wife?’

This text originated in the 2nd century AD and comprises 92 questions (numbered from 12 to 103) and 103 sets of ten answers (decades). By adding the number of the chosen question to a number between one and ten, randomly given by the customer — clearly divinely inspired — the fortune-teller would look up a table of correspondences. This would lead to a specific decade, and the random number provided by the inquirer would then identify the final response. This papyrus does not preserve any of the decades of responses, but other papyri do, such as P.Oxy. LXVII 4581.

Another fortune-telling practice attested in Roman Egypt relied on the so-called Homeromanteion (‘Homer oracle’) or ‘Scimitar’, a name attested in another papyrus from Oxyrhynchus (P.Oxy. LVI 3831). This same papyrus also provides instructions on how to use the oracle.

‘First, you must know the days on which to use the Oracle; second, you must pray and speak the incantation of the god and pray inwardly for what you want; third, you must take the dice and throw it three times.’ (translated by P. J. Parsons)

The sequence of the three numbers obtained allows one to identify a corresponding Homeric verse, which would be introduced by the same sequence. For example, if one gets 4, 6, 3, the sequence 463 corresponds to Odyssey XX 18:

Have courage, heart. You have endured far worse.

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Broken line from Papyrus 121, with Od. XX 18 introduced by the sequence 463

The British Library holds one of the three papyri that preserve this text: Papyrus 121 is a magical handbook written on a roll over two metres long, with the Homeromanteion placed at the beginning.

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Last column of the Homeromanteion from Papyrus 121

If you want to dispel your doubts, we suggest you either do it the old-fashioned way — by casting the dice three times, identifying the sequence of numbers, and reading the corresponding Homeric verse in Papyrus 121 — or, if you have no dice ready to hand, check out this website.

If you are eager to learn more about the use of writing in relation to divination, don’t miss the British Library's major exhibition, Writing: Making Your Mark, which opens on 26 April.

 

Federica Micucci

Follow us on Twitter @BLMedieval

17 February 2019

When love comes knockin’ at your door

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To the joy and relief of some, the magic of Valentine’s Day has now vanished, taking heart-shaped chocolates and romantic cards with it. A different perspective of love is offered by a motif popular in the Classical world: the so-called paraclausithyron.

This term, used by Plutarch (Moralia 753B), refers to a song of lament and despair sung by an ‘excluded lover’ (amator exclusus) at the firmly shut door of their beloved. The lover usually carries a garland and has walked at night by torchlight to reach their beloved’s house, where they plead to be admitted without success.

In Greek literature, the motif occurs in different genres. An illustrious example is found in Theocritus’ Idyll 3, where the lover, a goatherd, begs his mistress Amaryllis to let him come into her cave. He laments in despair:

Just look: there’s such pain in my heart. If only I could turn into a buzzing bee and come into your cave through the ivy and fern that hide you! Now I know what love is: he’s a cruel god. Truly he was suckled by a lioness, and his mother gave birth to him in a thicket: he’s making me smoulder with love and torturing me deep in my bone. (translated by N. Hopkinson)

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The beginning of Theocritus, Idyll 3 (15th century): Add MS 11885, f. 12r

A number of surviving epigrams relate to the scene of the closed door. This one, by the poet Asclepiades of Samos from the 3rd century BC, emphasises the lover's sorrow at not being admitted into the house:

Abide here, my garlands, where I hang ye by this door, nor shake off your leaves in haste, for I have watered you with my tears — rainy are the eyes of lovers. But when the door opens and ye see him, shed my rain on his head, that at least his fair hair may drink my tears. (translated by W. R. Paton)

Another poem by Meleager of Gadara, written roughly 2,100 years ago, contains several elements typical of the motif:

O stars, and Moon, lighting well the way for those disposed to love, and Night, and you, my instrument that accompanies my revels — will I gaze upon my wanton one, still awake on her bed, singed often by her lamp? Or does someone share her bed? I will take off my suppliant garland, douse it with tears, and fix it on her porch, inscribing on it just this: “Cypris, to you Meleager, the initiate in your revels, hung up these spoils of love. (translated by Paton)

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Detail of a heart (15th century): King's MS 322, f. 1r

It is not only male lovers who might be excluded. The ‘Alexandrian Erotic Fragment’ (Papyrus 605 verso) relates the lament of an ‘excluded woman’.  The motif of the ‘abandoned woman’ is well-known in Classical mythology: one thinks immediately of poor Ariadne, deserted by Theseus, or Medea who, left by Jason for another woman, killed her own children to punish him.

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Medea killing her children (c. 1450–1460): Harley MS 1766, f. 33r

The text of this papyrus was copied by Dryton, a cavalry-man, after 10 October 174 BC. His family archive is now dispersed across the world. A small fragment in the Sackler Library, Oxford, supplies a few more words of the second column of the British Library papyrus.

The poem has a complex metrical scheme, although its language is simple. It starts abruptly, with the woman remembering the old promise of love, having Aphrodite as a security (all translations by P. Bing):

Our feelings were mutual, we bound ourselves together. (ll. 1–2)

The tender memories of the past torture her, because her lover has proven to be an ‘inventor of confusion’ (l. 7). An invocation to the stars and night begins her journey to the house:

O beloved starts and lady Night, companions in my desire, take me even now to him. (ll. 11–12)

The trip is lightened not by a torch, but by the fire that enkindles her soul:

My guide is the potent torch that’s ablaze in my soul. (ll. 15–16)

The woman pleads to be admitted in a vortex of feelings, being mad, jealous and ready to submit to her beloved. After all, ‘if you devote yourself to just one, you will just go crazy’ (l. 31), she explains. She has a ‘stubborn temper’ when she gets in a fight (ll. 33–34), yet she now seeks reconciliation. Unfortunately, the second column of the papyrus is fragmentary.

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The ‘Alexandrian Erotic Fragment’: Papyrus 605 verso

Ancient authors had different views on these lovers’ practices. Plato considered that imploring one's beloved and sleeping on doorsteps was a form of slavery (Symposium 183A), whereas Plutarch thought that serenading and decorating the beloved’s threshold with garlands might bring some ‘alleviation that is not without charm or grace’ (De cohibenda ira 455B–C).

We should add a word of warning. Should you plan to serenade your lover, make sure that the right person is listening. In Aristophanes’ Ecclesiazusae, two young lovers exchange love songs. One of them invokes his beloved to open the door, but the person who opens it is not exactly whom the young man was hoping for …

 

Federica Micucci

Follow us on Twitter @BLMedieval

 

09 February 2019

Easy as ABC?

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Do you know your ABC? How about your ᚠ ᚢ ᚦ ᚱ ᚳ ? Or your ᚁ ᚂ ᚃ ?

The inhabitants of the British Isles in the first millennium spoke many different languages and wrote in several alphabets. Variant writing systems identified from early Anglo-Saxon England — some of which can be viewed in our stellar Anglo-Saxon Kingdoms exhibition — include runes, ogham and Greek, and even attempts at replicating Hebrew and Arabic letters.

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The back of the Harford Farm Brooch includes a runic inscription which says ‘Luda repaired [or makes reparations by] this brooch’ (England, c. 610–650): Norwich Castle Museum 1994.5.78

Runes were used to represent the earliest Germanic languages, including early forms of Old English and the Scandinavian languages. The earliest surviving examples of these angular letters were incised into metal, stone, wood or ceramics. We know that each of these runes had a name, taken from a noun that started with that rune: for example, (n) was called nyd (need), while (th) was called thorn (thorn), perhaps because the symbol itself looks slightly like a branch with thorn. In the 10th century, someone added the names to a runic alphabet on the back of a copy of the Old English version of Bede’s Ecclesiastical History of the English People.

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Runes copied in the 10th century, with their names added in the 11th century: Cotton MS Domitian A IX, f. 11v

Even though the Latin alphabet was eventually adapted to write English, runes did not cease to be used in Anglo-Saxon England. Several objects from the 7th to the 11th centuries feature runic inscriptions. Some surviving blades and scabbards feature the names of their early owners in runes or cryptic, talismanic inscriptions.

The Ruthwell Cross features the ‘Dream of the Rood’ poem inscribed in runes around its sides. Even when writing in Latin letters, the Anglo-Saxons used runes to represent sounds in their language which were not present in the Roman alphabet, such as æ, th (represented by þ or the adapted Latin letters Ð, ð), and w (Ƿ). Some of these letters are still used in Icelandic and Faroese spelling to this day.

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A scribe from 10th-century England practised his alphabet in the margins of this 9th-century copy of Alcuin’s letters: Harley MS 208, f. 117v 

Another non-Latin alphabet known in England in the first millennium was ogham. This writing system is formed of lines carved at different angles around a central line. Examples of ogham inscriptions have been found in Ireland, Scotland, Wales, Cornwall and beyond. On display in the Anglo-Saxon Kingdoms exhibition is a knife inscribed with ogham that was found in South-West Norfolk.

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A knife with an ogham inscription, from Norwich Castle Museum

Ogham script was certainly known to Byrhtferth of Ramsey in the late 10th or early 11th century, and by the scribes who copied his work in the 12th century. Ogham occurs in a 12th-century copy of his diagram (in Oxford, St John’s College, MS 17), although not in the version in Harley MS 3667. Perhaps the scribe of the Harley manuscript omitted the symbols because he did not understand them.

Alphabets from other parts of the world were known to certain Anglo-Saxons. Greek letters appear in some early medieval English manuscripts. Knowledge of Greek in Anglo-Saxon England may be associated with the school run by Archbishop Theodore and Abbot Hadrian in Canterbury in the late 7th and early 8th century. Theodore was from the Greek-speaking part of the Mediterranean and became archbishop of Canterbury in 668. Bede used the Greek alphabet in mathematical calculations and recommended it for creating codes. Some early medieval scribes also tried to imitate Hebrew letters, with somewhat less success. 

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Greek letters, in red, spelling the Latin phrase ‘Deo Gratias’: Harley MS 5431, f. 106v

One incredible survival featured in Anglo-Saxon Kingdoms is a coin of King Offa (d. 796) that imitates the Arabic script on a dinar of Abbasid caliph al-Mansur (AH 136–58/ AD 754–75). The Mercian moneyer who made the coin did not copy the letters correctly and clearly could not read Arabic.

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Gold dinar of Offa of Mercia: British Museum, CM 1913,1213.1

You can see many of these alphabets for yourself in the British Library's Anglo-Saxon Kingdoms exhibition, which is open until 19 February. We recommend that you check availability before you travel as many time-slots are already full.

 

Alison Hudson

Follow us on Twitter @BLMedieval

21 January 2019

Cataloguing Greek papyri at the British Library: new PhD placement position

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According to conventional estimates, the British Library holds some 3,136 glazed Greek and Latin papyri. This may well convey the exact number, but the actual figure is potentially much more, given that certain glass frames may contain several unrelated papyrus fragments (for example, Papyrus 113(9)).

The Library's papyri cover all phases of the ‘Greek millennium’ of Egypt’s history and many areas of the country. They were digitised in 2016–2017, thanks to the joint efforts of staff from Western Heritage Collections, the Library's Conservation Centre and and our Imaging Studios, producing images of extremely high resolution. The project itself might be compared to one of the labours of Heracles, given the number of papyri and the size of some of them. This first stage was presented at the ‘Third Papyrus Curatorial and Conservation Meeting’ held at Cambridge University Library in 2017.

Following digitisation, the papyri are now being catalogued: this phase started exactly one year ago and since then the Library's online catalogue has already been enriched with some 300 records. The high resolution images have been added to our Digitised Manuscripts site, while some of the papyri have been published in a new viewer, as the example below shows.

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Hyperides' Pro Lycophrone and Pro Euxenippo (P.Lond.Lit. 132): Papyrus 115

Many important papyri held at the Library are now available online. They include literary texts such as Pindar’s Paeans (Papyrus 1842); the Hellenica Oxyrhynchia (Papyrus 1843); and Bacchylides’ Epinician Odes and Dithyrambs (Papyrus 733), as well as interesting documents that shed light on administration and everyday life in Egypt during the Ptolemaic, Roman and Byzantine periods.

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Columns 8-10 of Bacchylides: Papyrus 733(1)

The first results of this cataloguing project were presented at the ‘Fourth Papyrus Curatorial and Conservation Meeting’, which took place at the British Library in June 2018. If you want to read more about this gathering of scholars and specialists from all over the world, read our blogpost Reunion and reunification.

Collaborations with other institutions have contributed to enriching the British Library's online catalogue. Attendees of the ‘2018 Heidelberg Research Webinar on BL Greek Papyri’ have studied and produced metadata for a number of published and unpublished texts, now available on Digitised Manuscripts. The PLATINUM project (Papyri and LAtin Texts: INsights and Updated Methodologies) has also contributed to the cataloguing of our Latin papyri, recently discovering a unique piece written in Arabic but with Roman characters (Papyrus 3124).

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A drawing in Papyrus 123, catalogued by the participants of the Heidelberg Webinar

These achievements combine with exciting projects in the near future. A new training and development opportunity as part of the British Library's PhD research placement scheme has arisen for doctoral students focusing on Greek papyri. The student will join a lively team for three months (or part-time equivalent), gaining first-hand experience in working with the Library's papyri. They will contribute towards the cataloguing associated with this project, enabling the digitised images to be described and published on the Library’s online catalogue and viewer. The placement student will also contribute to blogposts, and will support other Library activities to promote the collection and its international importance.

The deadline for applications is Monday, 18 February 2019. Full details on how to apply and the placement profile are available here.

 

Follow us on Twitter @BLMedieval

28 September 2018

Breaking news ...

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It is always exciting to announce acquisitions of new manuscripts by the British Library, but in this case the relevance is doubled: the title of the newly-acquired piece is itself “Breaking News”.

At a recent auction, the British Library was successful in acquiring an 18th-century Greek manuscript. Written in a neat hand on paper, this thin volume bears its title on the first page: “Breaking news from Europe – October 1740”.

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Title page of “Breaking News”: Add MS 89320, f. 2r

This manuscript is a collection of political reports from various parts of Europe, submitted possibly to the patriarch of Constantinople, Paisius II, perhaps by his agents and spies. The main focus is reports on Russia and the Hapsburg Empire, but the volume contains material from many parts of the world, including Germany, London and India.

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A report from London, 15 September 1740: Add MS 89320, f. 3r

Having been under Ottoman Rule for almost 300 years, the patriarchal court in 18th-century Constantinople was very keen to secure foreign support for its endeavours against the Ottoman Empire. Its main attention was directed towards Russia, from where they hoped to gain financial and military support to liberate Constantinople from the Ottomans, by relying on their shared orthodox faith.

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A report from St Petersburg: Add MS 89320, f. 14v

It is no wonder that the “breaking news” collected in this little volume includes detailed reports from St Petersburg. The Russian political situation at this time was rather complicated. The ruler, the Tsaritsa Anna, had died in 1740, leaving a two-month-old baby, Ivan VI, as her legitimate heir. Ivan was enthroned in October of the same year as this manuscript was made.

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“Copy of the report of the Longobard Imperial Surgeon" on the Death of Empress Anna of Russia

The patriarch of Constantinople was obviously interested in these events. “Breaking News” contains a fresh Greek translation of the medical report on the Empress’s death and a copy of the new Emperor’s manifest, followed by a short evaluation of the current political situation of the Empire.

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Armorial bookplate of Sir Frederick North on the inner side of the front board with "No 20" inscribed in ink

Reports by spies are always fun to read. Doubtless Patriarch Paisius II of Constantinople himself enjoyed flipping through this booklet in 1740, but so did others. Early in the 19th century, the manuscript was already in the collection of one of the most famous English collectors of Greek books and manuscripts, Frederick North, later Earl of Guilford.

Sir Frederick was an obsessed philihellenic: he read, collected and lived the Hellenic culture. He was the founder of the Ionian Academy in 1817 and later converted to Greek orthodoxy. His main interest was not only in ancient and Byzantine culture but even more in contemporary Greek literature, politics and religion. He collected an extraordinary amount of primary sources in Greek and Turkish alike for the history of the Greek Orthodox Church under the Ottomans, of which this manuscript was a part. “Breaking News” is already listed in the hand-written catalogue of his Greek manuscripts.

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The “Breaking News” in Sir Thomas Phillipps’s collection (Catalogus librorum manuscriptorum in bibliotheca D. Thomae Phillipps, Typis Medio-Montanis, 1837, p. 109. No. 7242)

His collection was so large that, after his death in 1827 it was sold at a series of auctions held in London. More than 600 of these manuscripts were purchased by the British Museum in 1830, one of its largest early purchases. “Breaking News”, however, was not amongst them, since it had been acquired by another even grander collector of manuscripts, Sir Thomas Phillipps, as MS 7242 in his collection.

After the dispersal of the Phillipps manuscripts through a century of various sales, “Breaking News” has finally found its way back to its original collection. It is now part of the largest single holding of Lord Guilford’s Greek manuscripts. Acquisitioned, catalogued, digitised and published online as Add MS 89320, the “Breaking News” from 1740 has made it into the news again.

15 August 2018

New papyrus position at the British Library

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The British Library is delighted to be able to offer a full time papyrus cataloguing and researcher post to work on our world-famous collection of Greek and Latin papyri. This one-year, fixed-term position will be based in the Ancient, Medieval and Early Modern Manuscripts section of the Library’s Western Heritage Collections department in London.

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Drawing from a collection of magical spells, Egypt (Hermopolis), 5th century: Papyrus 122

The British Library holds one of the world's most important collections of Greek papyri. Its diverse holdings comprise unique witnesses of Greek classical literature, early biblical fragments, magical papyri and an extensive corpus of Greek documentary papyri. This collection of more than 3000 items is now being fully digitised and published online. Newly created images, accompanied with new catalogue entries, will be accessible on the Library’s Digitised Manuscripts site as well as in a new viewer with additional functionalities to enhance further research.

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The Constitution of Athens, Papyrus 131, in our new Universal Viewer

The post-holder will contribute towards the cataloguing associated with this digitisation project. They will create and enhance catalogue entries for the newly-digitised items and will oversee the processing of digital images. Using their specialist knowledge of Greek papyrology and expertise in Ancient Greek and Latin, the cataloguer will be expected to promote the papyrus collection to a wide range of audiences using the Medieval Manuscripts Blog and Twitter feed, as well as participating in events at the Library.

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A 6th-century Latin papyrus fragment of a homily by Gregory the Great: Cotton MS Titus C XV, f. 1r

This post provides the opportunity for someone with a strong background in Greek papyrology to join a dynamic and diverse team to support the full digitisation and online presentation of one of the world’s greatest collections of Greek papyri.

To apply, please visit www.bl.uk/careers. Full details of the position (reference 02248) can be found here.

Closing date: 9 September 2018

Interviews will be held on: 19 September 2018